ADÈS ...but all shall be well
RACHMANINOV Piano Concerto No. 2
VAUGHAN WILLIAMS A Pastoral Symphony
SHOSTAKOVICH Festive Overture
THAMES YOUTH ORCHESTRA
9 July 2011 7.30pm
Cadogan Hall
Thames Youth Orchestra
Anna Selig leader
Simon Ferris conductor
One of the most remarkable activities to have caught the public imagination in recent years
has been the extraordinary ‘Sistema’ of youth orchestras in Venezuela. Providing over 350,000
Venezuelan children from the whole spectrum of socio-economic backgrounds with a sustained
programme of music education of the highest quality, playing core classical repertoire, conducted
at the top by musicians of the calibre of Dudamel, Rattle and Abbado, and all for free – this has
rightly made front-page news in the UK and generated capacity audiences for every performance.
9 July 2011 7.30pm
Cadogan Hall SW1X 9DQ
But what about celebrating youth music-making in our own country? The development of the
Thames Youth Orchestra, since its foundation in 2005, is an outstanding example of what can
happen when visionary state schools, government policy, and committed professional musicians
work together. Supported by Tiffin School, a specialist Performing Arts College in Kingston, as
a core community outreach activity, the orchestra’s members now come from some eighteen
local schools; the TYO fulfils an important provision in the artistic and educational life of the
local community, and one that would be impossible for schools to provide on their own – namely,
rehearsing and performing full-length programmes of demanding orchestral repertoire, often
with newly-commissioned work. The orchestra enjoys a close relationship with the Royal Borough
of Kingston Music Service, and we are looking forward to the next stage of the orchestra’s life, in
which it sits within the structure of the Borough’s music provision, wherein the future members of
the orchestra will be trained through a system of feeder instrumental ensembles.
This evening’s concert showcases a phenomenal range of youth talent – in addition to the
members of the orchestra themselves, young pianist Patrick Milne, a student at Tiffin School and
RCM prizewinner, performs Rachmaninov’s Piano Concerto No 2 (his previous performance of
this work in Kingston last April was astounding); Amelia Brown, a student at Tiffin Girls’ School
and member of the Thames Youth Choir, takes the important role of soprano soloist in the final
movement of the Vaughan Williams symphony; while Robert Hawkins, a trumpeter in the orchestra
and Head Boy of Tiffin School, illuminates Thomas Adès’s but all shall be well… with some
remarkable video art.
These are talented young people indeed – and the role of the TYO and associated Arts
organisations must be to unlock similar talent in young people across our communities. Running
such an ambitious programme does not come cheap, and we are looking to expand our base of
supporters. Word of mouth is important, but equally important is money! So – if you would like to
join us, either by joining the Friends of TYO or by sponsoring one of our players, as my wife and
I and others have done, then do please turn to page 13 of this programme for more information
about these important initiatives, and how to join.
Professor Peter Toyne CBE
Chairman
SHOSTAKOVICH
Festive Overture
RACHMANINOV
Piano Concerto No.2
piano: patrick milne
Interval (20 minutes)
ADÈS
...but all shall be well
visuals: robert hawkins
VAUGHAN WILLIAMS Symphony No.3 ‘Pastoral’
soprano: amelia brown
1
Dmitri Shostakovich (1906-1975)
Festive Overture in A major Op. 96
In the months following the death of Stalin in 1953
and the composition of the immense and selfaffirming Tenth Symphony, Shostakovich entered
a period of relative compositional sluggishness,
from which he emerged in a bolt of surprising
energy. In response to a commission (at the
beginning of November 1954) for a concert
overture for a gathering at the Bolshoi, to be
held in celebration of the 37th anniversary of the
October Revolution, he was able to compose
the Festive Overture in two days, the pages of
manuscript being rushed to the theatre one at a
time by special courier, with the ink (so the story
goes) still wet.
The composition of occasional music for the Soviet
state did not so much go against the grain for
Shostakovich, as invoke his sense of musical irony,
audible partly in the use made of the distinctly
wry musical personalities of certain instruments –
the clarinet, for instance, or the piccolo, or snare
drum – capering here like subversive wise-cracking
clowns from the commedia dell’Arte; and partly in
the overall frame of the work: a festive overture,
almost by definition, taps into the carnevalesque,
or the saturnalia: modes which could be said to
represent the theoretical or psycho-social heart of
the revolution and which had, to a great extent,
been lost (if it had ever been found) in the dark
years of the war and of Stalin’s rule.
The musicologist Lev Nikolayevich Lebedinsky,
who was apparently present during much of
the breakneck composition, noted that during
composition Shostakovich was able to smoke
and drink tea, chat and joke continually without
lifting his head from the manuscript, a manic
performance in its own right that finds its
counterpart in the skittering strings of the presto
theme punctuated by rhythmic jabs on the brass,
which in turn mirrors (or mocks) the furious presto
portrait of Stalin in the Tenth Symphony.
This first theme proper follows a dense fanfare
chorale which prefigures the shape of that theme,
but not its burlesque impishness, clarinet and
carolling wind launched over a propulsive, lilting
rhythmic drive, giving way to galloping doubletongued brass; the second theme, a broad tune
for cellos, plays out over the same relentlessly
scuttling rhythm; and the whole culminates, first
in an adept counterpointing of first and second
themes, and then in a restatement of the opening
brass fanfare.
2
Sergei Rachmaninov (1873-1943)
Piano Concerto No 2 in C minor
Op.18
I
II
III
Moderato
Adagio sostenuto
Allegro schezando
Composition was always problematic for
Rachmaninov, and the circumstances of the
genesis of the second piano concerto were a
particularly acute example of his sensitivity to
the psycho-emotional conditions under which he
worked.
The concerto emerged at the end of a period of
three years in which he had composed precisely
nothing (although he had continued to work as
a performer and conductor), a direct result of
the hostile reception to his first symphony, the
first performance of which had been a fiasco,
conducted by a Glazunov either incompetent or
drunk; Rachmaninov himself had sat in the foyer
with his fingers in his ears; and the grandees
of Russian music assembled to hear the first
symphonic essay of the young prodigy were
aggressively hostile (César Cui described it in print
as a ‘programme symphony on the seven plagues
of Egypt’).
so often in this movement, is the accompanist;
Rachmaninov was worried before the first
performance that the entry of the piano, solo, at
the outset of the second theme, would be taken
by the audience as the beginning of the concerto
proper. It is an arresting gesture, the piano’s first
essay into the cantabile line that lies at the heart of
the concerto; but the scintillations of solo pianism,
throughout the concerto as a whole, are frequently
put at the service of the orchestral whole.
Rachmaninov emerged from the ensuing
compositional void through the professional
mediation of Dr. Nicolai Dahl, a hypnotherapist;
(friends had previously arranged a meeting with
the venerable Leo Tolstoy, whose own version of
therapy, Rachmaninov later recalled, consisted in
stroking his knee and telling him to work – “you
must work; I work every day”- , and remarking,
when Rachmaninov played a piece for him,
“does anybody really need music like that?”). His
sessions with Dr. Dahl (the present work’s eventual
dedicatee) were more helpful. While it seems
that the doctor’s informed conversation was as
useful as his hypnotherapy (Rachmaninov had to
intone, among other things, “you will begin your
concerto.... it will be excellent”), the sessions
nevertheless gradually restored his confidence;
and when he visited his friend, the bass Chaliapin,
in Italy in the summer of 1900 he was able to
begin work, completing the concerto on his return
to Moscow in August that year. He gave the first,
well-received performance (of the second and
third movements only) that December, and the
first full performance the following year.
The second movement begins (after a brief
chorale homage to Tchaikovsky’s Fifth Symphony)
with the piano again playing accompanist to flute
and then clarinet, the roles reversed in due course;
this dialogic relationship is then maintained
through the more intense, minor key central
passage. Much of the material from the movement
is derived from an early work, Romance, written
for the Skalon sisters, the youngest of whom had
been an early infatuation. The variably accented
piano line of the opening accompaniment, running
at a slight rhythmic counterpoint to the solo
instruments, is responsible, perhaps, for the faintly
uneasy repose of the movement as a whole.
The finale is also rooted in the cantabile Russian
tradition, alternating a bravura first theme with
a meditative but essentially affirmative second
theme in variations which encompass brisk fugue,
nachtmusik, maestoso augmentation, and other
stylistic sorties, as though we are listening to a
man trying out his compositional muscles after
three years of atrophy, and being quietly delighted
to find them not only in excellent functioning
order, but better than he remembered.
The work opens with a bell-like tolling which leads
to the first theme group in which the piano, as
Interval (20 minutes)
Thomas Adès (b. 1971)
...but all shall be well
Op.10 for orchestra (1993)
Raymond Adès (1915-1993), the dedicatee
of ...but all shall be well was the composer’s
grandfather. He lived at Oxshott for fifty years and
was for many years a magistrate at Walton-onThames.
...but all shall be well was composed for the 150th
anniversary of the Cambridge Music Society and
was premiered by the society orchestra conducted
by Stephen Cleobury in Ely Cathedral in 1994.
It was Adès’s first piece for full, not to say large,
orchestra (it is scored for triple woodwind, six
horns, and a very full percussion complement).
The title is a quotation from the fourteenth
century mystic Julian of Norwich, filtered through
3
T.S. Eliot’s Little Gidding, the last of the Four
Quartets: ‘Sin is Behovely, but/All shall be well,
and/All manner of things shall be well’. That
the composer should quote a modernist poet
quoting a fourteenth century mystic is a typical
constructive strategy: Adès’s music is highly
allusive (there are references in this short piece to
Britten’s A Midsummer Night’s Dream and Liszt’s
Consolations); it is music which derives its form
from a sort of cultural trigonometry, a knowledge
of precisely where and how it is situated.
Adès has referred to the piece as a consolation.
Consolation is at once an inarticulately emotional
or cathartic event and a philosophical and
discursive practice; we turn to music not only for
solace, in other words, but also for clarity, and if
the two are not always naturally co-existent, the
tension between them is generative rather than
obstructive.
What is generated, then, by this large orchestra
in a short span of time (roughly 10 minutes) is a
complex and multiplanar object predicated on
one simple idea – a rising and falling theme for
clarinet and then strings. This theme slouches
out from a rhythmically centreless introductory
passage of tintinnabulation alternating with
proleptic fragments (both motivic and textural)
of the theme itself; it lies at the root not just of
sequential and vertical cells of music, but of music
that is temporally displaced; if time signatures in
music are analogues to ticking clocks, then what
we have here is a multi-temporal construct, a sort
of Bergsonian cathedral of sound, where we can
hear, simultaneously insofar as that is possible,
different rates of motion, ideas in the music which
seem to have a pace and purpose of their own.
The rising and falling motif is not morphologically
immune to the complex interactions taking place
around it; it takes on a keening quality, starts
to swoop in portamenti as if getting into the
swing, trying out attitudes; the cells or passages
of music (which surround and intersperse this
central thematic idea like an encroaching jungle
of strange indifferent percussive pops, whirrs and
rattles, skittering and slithering strings, bits of
brass chorale) are subtly cross-linked in sotto voce
statement and response, and what is ultimately
built up is the sense of a complex musical
topology which is rational without being either
discursive or rhetorical. The work culminates in a
transcendent final chord with a high major third
hovering above it, as the stepwise incantatory
motif is finally stilled.
4
Ralph Vaughan Williams
(1872 – 1958)
Symphony No. 3 ‘Pastoral’
I
II
III
IV
Molto moderato
Lento moderato
Moderato pesante
Lento
By his own belated admission (in a letter to his
second wife, Ursula, in 1939) Vaughan Williams
wrote A Pastoral Symphony in response to his
experience in the Great War. He had enlisted in
1914 at the age of 41 as a private in the Royal
Army Medical Corps and served most of the
conflict as a wagon orderly in France and on the
Salonika front (being transferred to the Artillery on
his return to France late in the war).
The symphony that emerged from the horror
and loss of those years is more than an elegiac
outpouring (although it is also, clearly, that): it is a
work of formal grieving – understood as an act of
memory that makes the experience and nature of
loss intelligible – realised in the pastoral idiom.
It is the act of remembering that makes sense
of that link (between grieving and pastoral). In
part, of course, the remembering relates to the
remembrance of the dead; but it also dwells upon
(and is largely generated from) the experience
of remembering itself in the midst of war: the
way in which certain experiences could become
metonyms for a life that stood outside the
bloodshed and the bombing, and which made it,
if not bearable, then not all-encompassing.
Some of those remembered experiences
are translated into the detailed fabric of the
symphony – the memory, for instance, of a bugler
practising the Last Post that is reinvented as the
natural trumpet solo of the second movement;
or the memory of a distant singing farm girl that
becomes the wordless soprano solo of the last
movement.
aesthetic that structures the emotional response,
renders it both intelligible and available.
The pastoral idiom of course necessarily excludes
certain modes of feeling – its greatest tensions
tend to be elegiac rather than, say, tragic, or
violent, and are subsumed, by definition as it
were, within a natural economy (as is Beethoven’s
storm, for instance). Similarly, pastoral is not a
rhetorical dynamic; the usual expectations of
a symphony – that it structure an argument of
musical and in particular harmonic contrasts – are
treated as secondary.
Not that there is no tension in the symphony, or
that it is not built on contrasts: that, for instance,
between tonal and modal harmonics and melodic
implications, which is characteristic of Vaughan
Williams’s folk-derived idioms in general. The
opening of the first movement, for instance,
generates tension between apparently simple
modal lines: the implications of the step-wise
oscillation of flutes and bassoons leads to a
harmonic ambiguity, if not outright bitonality – an
ambiguity echoed, moreover, in the rhythmic
hesitancy which emerges from the apparently
simple juxtaposition of a steady (but charged)
quaver movement and dotted four note melodic
fragment (on double basses and harp); so that
solo violin makes its entry at a deeply unstable
moment.
Forward impetus, in both the first movement
and the symphony as a whole, is in fact rarely
untrammelled, even if in Vaughan Williams’s
judgement “the mood of this symphony is almost
entirely quiet and contemplative”. The themes
of the first movement are in essence repetitive
fragments or scraps of ideas which return
relentlessly to their own starting points, sherds of
folk-like themes like the ghost voices of the shires.
There is no rest, as such, only a greater or lesser
urgency, and no little menace.
The natural trumpet solo lodged in the centre of
the second movement is a memory of a bugler
practising the Last Post, itself the antonym of
fanfare and martial zeal. It is nested in themes
derived from the quaver movement of the
opening to the symphony, as though this act
of explicit and meditative memorialisation had
managed to dislodge a specific memory.
Vaughan Williams called the third movement a
great slow dance. If so it is a sort of stomping
Breughel peasant’s dance reminiscent of Mahler’s
Ländler scherzos, laced with robust fanfare and
chorale. An impish fugal scurrying trio concludes
this essay in tragic joviality.
The wordless soprano of the finale emerges in
the wake of an ominous drum roll, and it is as
though that lone and centred, modally-inflected
voice were the source of all that preceded it; now
it seems, for the first time, the music is sure of its
direction. The soprano line is followed by a broad
theme that for the first time in the symphony
flows rather than wheels. The tensions when they
emerge are now explicit and are resolved: there is
a sense of formal emotional closure, and with the
soprano, when she returns underneath sustained
high violins at the end of the movement, we
approach the opposite of ambiguity – a moment
of transcendent certainty, as though the whole
symphony had collapsed to a single dimensionless
point.
Programme notes © John Ferris, 2011
Other remembered experiences remain more
generalised: for example the memory, as
expressed years later to his wife Ursula of
‘[going] up night after night with the ambulance
wagon at Écoivres ... up a steep hill and there
was a wonderful Corot-like landscape in the
sunset’. It is as though the middle-aged Vaughan
Williams in the midst of war was able to fashion
a psychological lightning rod from an aesthetic
construct (in this case, the work of Corot). In the
same way, years later, the pastoral idiom is an
5
notes on video …but all shall be well
Creating moving image
to accompany Adès’
‘Consolation’ for orchestra
Robert Hawkins
Time present and time past
Are both perhaps present in time future,
And time future contained in time past.
If all time is eternally present
All time is unredeemable.
From Burnt Norton,
Eliot’s Four Quartets
The opportunity to work on such a grand
scale, literally and artistically, with a fascinating
composition and a full orchestra is not one that
regularly meets an 18 year old aspiring artist,
and perhaps for good reason. The relationship
between film and music is a difficult one to
handle, and despite the increasing popularity of
the medium in performance and composition I
think it will only become more polluted and the
experience more challenging for both artists
and audiences in the future. Simply, we are
becoming more and more accustomed to music
functioning as backing to film and image – in
television, cinema and advertising – and yet in
the concert hall, the music (especially a pre6
existing composition) requires an equality of focus;
something I have tried very hard to create.
The greatest challenge of this project has been to
judge this relationship correctly: not to make a film
to which the music is a mere soundtrack, whilst
creating a separate work with its own interest and
ambition. Adès’ work is a fascinating challenge for
a video artist – despite a title and poetic allusion
that promises much in terms of narrative, it is,
the composer claims, the least programmatic of
all his works. Instead, it aims to create an aural
landscape, gradually drawing the listener into
an intimate world. Film innately functions on a
narrative basis, finding a halfway between the
‘temporal urgency of music and the material
certainty of painting’1. My solution was to turn to
Eliot’s Four Quartets – the composition’s namesake
– where permanence, the divine, the eternal and
the redemptive quality alluded to by Adès all exist
within time, rather than outside it. The opening
bars, then, were to me the everyday progression
of time: sinful, earthly; analogous to ticking clocks,
into which we are offered glimpses of the eternal
as ‘proleptic fragments’ of orchestration, before
we are plunged headlong into a new temporal
world, existing within a single instant of time.
Visually, the film inhabits a very watery world.
Water as a subject is, to me, endlessly compelling
and poetic, offering the figurative and the
7
abstract; it is ever changeable and analogous
in many ways to both the temporal and the
spiritual. Thus, the world above, the reflection
and distortion on the changing surfaces, and
the foreign submerged worlds below became
equivalent visually for the levels of meaning in the
music.
The film works in three sections. The first creates
the analogy between water and the temporal,
with droplets into a thick, monochrome, woodland
pool illustrating sin and time as a genesis for both
the music and film in a primordial liquid. Into
this landscape, colour gradually emerges, before
visuals sink with the music’s chromatic descent into
a single moment of colour.
Within the second section, the Wagnerian
unending melody is reflected in colourful searches
for beauty. The elements broadly present in the
first section are explored at greater length – the
canopy above the pool literally shifts in and
out of focus as melodic ideas do the same; a
hallucinogenic field of colour (alluding to Viola’s
work with Nine Inch Nails) is also distorted as if
reflected in Eliot’s ‘watery mirror’ which returns
with the tintinnabulation theme, hunting for
solidity and focus. Finally, an undulating sea – a
disturbed transformation of the initial glassy pool
– is temporally manipulated, inspired by a section
of Rosner and Adès’ collaborative In Seven Days
(itself a key inspiration for the project as a whole).
8
The concluding section is perhaps the most
varied and dynamic musically; ‘consolation’ is, I
think, as it is for Eliot, hard-won, and not unfought for. The reeling melodic anguish and
tumultuous falling and rising heavy brass inspired
a churning, crashing sea; the divided, Britten-like
orchestration of melody with a larger echoing
forceful accompaniment seemed well illustrated by
churning deep and foaming spray. I also wanted
to portray extreme violence and threatening
menace, providing compositionally energised
frames to tower over the orchestra in the hall.
Finally, a spiralling orchestral chromatic descent
is accompanied by a submersion both of our
view point and of a faceless figure – representing
us, the viewers – at a moment of genuine peril,
drowning in the single moment we have been
exploring. Resolution, when it finally comes,
seemed to suggest rising bubbles, ascension back
to the surface, and a comforting retraction of all
the previous visual gestures. Drawing again from
the Eliot, the final redemption is found within the
opening sinful image.
What we call the beginning is often the end
And to make an end is to make the beginning.
From Little Gidding,
Eliot’s Four Quartets
1
Bill Viola
thames youth orchestra
biographies
PATRICK MILNE piano
Patrick is at Tiffin School and
for the last seven years has
been studying piano, guitar
and composition at the Royal
College of Music Junior
Department, where he won the
Teresa Carreno Competition for
pianists and the Gordon Turner
Competition for instrumentalists,
and was runner up in the Peter
Morrison Concerto Competition,
the Angela Bull and the
Joan Weller Composition
Competitions.
He has performed at Wigmore
Hall, the Venezuelan Embassy’s
Bolivar Hall, with violinist
David Garrett at the Royal
Albert Hall and Ronnie Scott’s,
and has appeared in a TV
advertisement for Steinway
pianos. He has collaborated
with choreographers from the
Royal Ballet School, whose
students have performed two
of his compositions. He has
also accompanied professional
singers at concerts and has
performed piano concertos with
the Thames Youth Orchestra,
including Ravel G major and
Rhapsody in Blue on tour in
Spain.
SIMON FERRIS conductor
Simon Ferris, founder director
of the Thames Youth Orchestra,
read music and was organ
scholar at King’s College
London. As an undergraduate he
pursued additional instrumental
and musicianship studies
with Bernard Oram at the
Guildhall School of Music and
Drama and, after graduation,
received composition tuition
and encouragement from the
composer and John Ireland
pupil, Geoffrey Bush. A
skilled and experienced jazz
pianist, Simon’s wide-ranging
professional career now
embraces an array of genres
and disciplines, as performer,
composer (published by
ABRSM), arranger, writer (with
programme note credits for,
among others the Maggini
Quartet and the Hanover Band),
conductor and teacher, with
duties including preparing
children’s choirs for the Royal
Opera House, Covent Garden.
Simon is currently Musician in
Residence at Tiffin School, and
Musician in Residence at Tiffin
Girls’ School, Kingston upon
Thames, where in addition to
his composing and performing
duties he also teaches harmony.
THAMES YOUTH ORCHESTRA
Thames Youth Orchestra
was founded in 2005 and is
based in South West London.
TYO now has a permanent
staff of nine professional
musicians and comprises more
than seventy young players
drawn from seventeen local
schools. Its ethos is defined
by a challenging, adventurous
approach to programming,
which combines well-established
large-scale orchestral favourites
with twentieth century rarities
and new commissions.
TYO has featured in a BBC
TV children’s programme and
performs annually at London’s
Cadogan Hall.
Recent concerts have included
performances of Tchaikovsky’s
Symphony No. 4 and
Bernstein’s Symphonic Dances
from West Side Story. The
orchestra tours annually – recent
destinations including Spain
and the Czech Republic – with
a tour of Croatia planned for
August. TYO’s forthcoming
concerts include Satie’s Parade
and Respighi’s La Boutique
Fantasque in All Saints’ Church,
Kingston on 16 July.
More information about Thames
Youth Orchestra can be found
at www.thamesyouthorchestra.
co.uk
10
First Violins
Anna Selig*
(Leader’s chair endowed
by Peter and Angela Toyne)
James Walsh
Adisha Kapila
Sung-Hyo Lee
Olivia Johnson
David Kola
Toby Piachaud
James Scollick
Louis Watkins
Hana Wilford
Second Violins
Rosie Parker*
Hermione Kellow
William Brunt
Young-Joo Kim
Nina Lim
Susan Liu
Bela Pereira
Kath Roberts
Steffi Schofield
Miriam Wilford
Violas
Grace Moon*
(Principal Viola chair endowed
by Michael Schofield)
Tom Pollard
Heppy Longworth
Georgina Feary
Natasha Park
Cellos
Eunyoung Lee*
(Principal Cello chair endowed
by Carlos Duque)
Miles Dilworth
Sarah Ebsworth
Amy Hur
Susie Bridge
Flutes
Louis Tam*
Minyoung Seo
Ellie Barlow
Hannah Paul-Bhuvanenthiran
Beckie Sturge
Julia Clarke
Oboes
Catherine Hancock*
Diya Kapila
Jesus Duque
Mark Mitchinson
Sam Mitchell
Clarinets
Tom Nichols*
(Principal Clarinet chair endowed
by Simon and Susan Feary)
Ellie Pryde
Clare McEvoy
Peter Lidbetter
Grace McKellar
Bassoons
Josh Stevens
Horns
Will Whiting
Chris Born
David Liu
Sadhbh O’Sullivan
Peter Le Tissier
Trumpets
Imogen Hancock*
Nicolaj Schubert
(Principal & 2nd Trumpet chairs
endowed by David Berliand &
Miranda Fagandini)
Robert Hawkins
Katie Lodge
Joe Burley
Trombones
Ed Jillings*
Ross Moore
Matilda Ashe-Belton
Timpani/Percussion
(Timpani chair endowed by
Mary Fagandini)
(Orchestral Percussion chair
endowed in memory of Remy and
Sally Adès)
Dae-Hyun Lee*
Nicholas Wong
Patrick Milne
Hugo Fagandini
Ben Porter
Piano
Patrick Milne
Celeste
tbc
Harp
tbc
11
Thames Youth
Orchestra
Simon Ferris,
conductor
All Saints
Kingston
16th July
2011
7.30 pm
Satie
Parade
Poulenc
Les Biches
Respighi
La Boutique Fantasque
Tickets available
on the door:
£10,£5 (concessions)
Family ticket £20
(2 adults and 3 concessions)
The Friends of the Thames Youth Orchestra
The purpose of the Friends’ Association
is to provide financial support to the
orchestra to help offset the significant
expenses of running a full-scale symphonic
ensemble. These costs include music,
venue and instrument hire, staffing,
performing rights, publicity, transport,
maintaining a web presence, catering – the
list goes one.
The cost of membership of the friends’
scheme is £15 per annum for an individual
subscription, £25 for family membership
and £40 for corporate members. The
benefits include reduced ticket prices for
concerts and events and members’ names
listed in concert programmes. Peggy Linton
Peter Jagger
Mary Reid
Miranda Fagandini
Penny and Steve D’Souza
Irene and Howard Mallinson
Rachael and Peter Nichols
Simon and Helen Hancock
Martin and Carolyn Parker
Mr and Mrs Christopher Johnson
Julia and John Dilworth
Carlos Duque
Carolyn and Reino Liefkes
Melanie and Dave Price
Pauline and Stephen Cox
Anne and Stephen Wilcox
Hugh and Doris Longworth
Louise and David Piachaud
Frank Schubert and Suzanne Dietrich
Cristina Montanari and Seumas Milne
Mrs Margaret Grover
Mike and Sarah Bruce
Julia and Philip Whiteman
Mr John and Dr Petra Mitchinson
Jackie and David Jillings
Mr and Mrs J M Rice
Helen Lowis
Karen Lodge
Catherine Schofield
Margaret and Achal Kapila
Current Members:
For more details, or to apply for membership,
please contact Friends Coordinator, Louise
Carpenter: [email protected]
Sponsor a Chair Scheme
Why not join our new scheme to support
one of our young musicians for their
training and for their 2011/2012 season?
SPONSOR ONE OF OUR CHAIRS for £30 or SPONSOR ONE OF OUR SECTION LEADERS for £50
As well as the joy of knowing that you are giving
the TYO great encouragement and financial
support, you’ll receive:
• an invitation to come to a rehearsal and meet
‘your’ player
• your name(s) listed as sponsoring ‘your’ player
in each programme
• a free ticket and programme for each concert
of the 2011/2012 season
Our Chairman launched the scheme by sponsoring
the Leader’s chair for 2 years, and his five fellow
Trustees have already signed up to the scheme.
If you would like more information, please feel free
to contact Hugo on 07729 801 179 or by email at
[email protected].
13
PARKER THOMAS
Kodaly based music education from the age of
eighteen months to eighteen years.
Solicitors
Music Kindergarten: we provide what is probably
the best introduction to music for children that exists
today.
Wishes the
THAMES YOUTH ORCHESTRA
The happy and creative atmosphere of our classes
encourage the development of good listening skills
and responsive participation.
Every success tonight
55-56 Lincoln’s Inn Fields
London WC2A 3LN
020 7242 5462
[email protected]
Instrumental lessons are combined with aural
training and tuition in ensembles from the start.
We turn concerts into a normal activity and build
up childrens' confidence as performers. All this is
achieved through a highly integrated programme
in a relaxed and child-sensitive environment.
Based at Roehampton University since 1997
For more information, visit
www.ColourstringsMusicSchool.co.uk or
call 020 8789 8176
The Colourstrings Music School is part of The Szilvay
Foundation - registered charity no. 1062822
Wyvern Partners
are proud to support
tonight’s concert by the
Thames Youth Orchestra
TYO would like to thank...
Hilda Clarke, Vanessa Ward, Tiffin School, Tiffin Girls’ School and the Tiffin Foundation
Hani Madanat, Eve Everett and Coombe Residential
Annie Rushton for programme design
Georgina Feary, Hugo Fagandini and Thom Andrewes
Elizabeth Jarrett
Corporate Finance Advisers
Wyvern Partners Limited
5 Aldford Street, Mayfair, London W1K 2AF
020 7355 9854
www.wyvernpartners.com
Authorised and regulated by the FSA
Jack Hawkins
Hannah Calascione for the kind loan of a swimming pool
All photography in this programme by Robert Hawkins
www.coomberesidential.com
Proud sponsors of the
Proud sponsors of the
Thames Youth Orchestra
Thames Youth Orchestra
www.coomberesidential.com
Wishing the
the Thames
Thames Youth
YouthOrchestra
Orchestra
Wishing
every
everysuccess
success on their night at
Cadogan
Cadogan Hall
Hall
and
concerts 2011
2011
andfor
fortheir
their season
season of
of concerts
www.coomberesidential.co.uk
www.coomberesidential.co.uk
Tel: 020 8947 9393
Tel: 020 8947 9393